This thesis examines the use and promotion of shamanic themes in contemporary Canadian Inuit art, being the principle venue in which Inuit identity is presented to non-Inuit in Canada and internationally. The image of Inuit identity promoted through the arts since the mid-twentieth century is arguably the product of non-Inuit state authorities, but Inuit artists themselves are increasingly asserting their voice in their arts and crafts, thereby challenging the image of Inuit identity to non-Inuit. This project first problematizes the history of contemporary Inuit art, where the construction of Inuit identity was heavily prescribed, and then turns to the shifts occurring in Inuit art to highlight the process of identity construction and the agency of Inuit within it. In the process, this project challenges the static conceptualization of minority identities in diverse societies by both state authorities and majority populations. This dissertation contends that Inuit art and identity are fluid concepts and there must be an emphasis made to permit for their fluidity, to avoid affirming a static minority identity in a diverse society, whether in the public or state forums. Consequently, the effort to assert the authenticity of these intangible concepts is contrary to the ideals of diversity and equality promoted in Canada.

This thesis examines the use and promotion of shamanic themes in contemporary Canadian Inuit art, being the principle venue in which Inuit identity is presented to non-Inuit in Canada and internationally. The image of Inuit identity promoted through the arts since the mid-twentieth century is arguably the product of non-Inuit state authorities, but Inuit artists themselves are increasingly asserting their voice in their arts and crafts, thereby challenging the image of Inuit identity to non-Inuit. This project first problematizes the history of contemporary Inuit art, where the construction of Inuit identity was heavily prescribed, and then turns to the shifts occurring in Inuit art to highlight the process of identity construction and the agency of Inuit within it. In the process, this project challenges the static conceptualization of minority identities in diverse societies by both state authorities and majority populations. This dissertation contends that Inuit art and identity are fluid concepts and there must be an emphasis made to permit for their fluidity, to avoid affirming a static minority identity in a diverse society, whether in the public or state forums. Consequently, the effort to assert the authenticity of these intangible concepts is contrary to the ideals of diversity and equality promoted in Canada.

Yes / Shamanic belief systems represent the first form of religious practice visible within the global archaeological record. Here we report on the earliest known evidence of shamanic costume: modified red deer crania headdresses from the Early Holocene site of Star Carr (c. 11 kya). More than 90% of the examples from prehistoric Europe come from this one site, establishing it as a place of outstanding shamanistic/cosmological significance. Our work, involving a programme of experimental replication, analysis of macroscopic traces, organic residue analysis and 3D image acquisition, metrology and visualisation, represents the first attempt to understand the manufacturing processes used to create these artefacts. The results produced were unexpected—rather than being carefully crafted objects, elements of their production can only be described as expedient. / AHRC

This study is an account of the development of a personal, intuitive epistemology for psychotherapy, and an exploration of some possible implications thereof for a general professional epistemology. Initial analysis of the author's problematic clinical cases revealed that assumptions regarding the nature and process of therapy predisposed the author to a reliance on rational, theoretically founded therapeutic praxis. When rationality was perceived not to be achieving the desired ends in therapy, the author experienced escalating, critical self-consciousness, and worked ever harder at improved rational problem-solving. This constituted a self-reinforcing problem cycle during 'stuck' consultations. The premise that effective action is rational was seen to constitute a weltanschauung of the therapist, and understood to be inconsistent with the postmodern frame of ecosystemic theory. A hermeneutic .action research process was initiated, its concern to accommodate spontaneity as an antidote to rigidifying rationality in the author's clinical and academic praxis. The exploration of spontaneity and intuition was massively influenced by the author's unexpected immersion in shamanic tradition, itself predicated on mythological and intuitive construction of "a" world, rather than denotive description of 'the' world, as is the case in logocentric practice. i'he social disjunction and existential challenge occasioned by immersion in such tradition occasioned angst in the author, and it took years to find an uneasy rapprochement between the different contexts of the author's life. Nonetheless, a change in the author's epistemology and clinical praxis were effected, and the initial problematic clinical situation - partly a consequence of a relational stance entailed in notions of objectivity, a hidden concomitant of logocentrism - has not recurred. A case which evokes the revised epistemology and cognitive-affectiverelational stance of the author is presented. The possibility of an intuitive psychotherapy and its coherence with ecological thought and the tenets of postmodernism and narrative therapy are explored. / Psychology / D. Litt. et Phil. (Psychology)

Made available in DSpace on 2016-04-25T20:23:06Z (GMT). No. of bitstreams: 1 Israel Fontes Dutra.pdf: 6549450 bytes, checksum: d5ff595634984395e47c395047750e82 (MD5) Previous issue date: 2010-05-28 / Instituto Felowship / This dissertation focuses on shamanism Uhtãpinõponã: principles of shamanic rituals and rites of the Tuyuka shaman being. The Tuyuka people speaks a language that belongs to the oriental tukano linguistic family, and dwells in the upper rio Negro, AM, Brazil and Departamento de Vaupés, Colombia. The goal is to describe the historical-cosmological foundations of the shamanic rituals and of the shaman Tuyuka being. The group is part of a complex web of kinship that constitutes the indigenous peoples of Uaupés river, which came from the House of Emergency Ohkó Diawi, located at the low Uaupés river, in Brazil. The history of the Upper Rio Negro shows that the missionary action on indigenous communities in the decades from 1920 to 1980 led to the almost total destruction of their cultural and spiritual life. The shamans, (yaíwa and basera or kumuã), masters of traditional songs and dances (bayaroa), masters of the Jurupari rituals (mahsãkuła yaíwa), became enemies of various representatives of the Catholic Church, which tried to eradicate them, based on the thesis that the traditional festivals, the rituals of shamanism (yaiałe and kumuãłe) and the jurupari rites were evil and that if they destroyed them, the Indians would become children of God and no longer the children of devil. However, they failed to destroy the essence of cultural and spiritual life of the Tuyuka people, because in despite of this cruel story, there is a cultural and spiritual sense experienced by the Tuyuka shamans. To show this experience, we present the following research topics: the Tuyuka people and its shamanic rituals historical and cosmological principles; the Tuyuka shaman being and the means of transmission of the shamanic rituals. The research took into account the following theoretical and methodological aspects: 1. the study of Mircea Eliade on the mith issue, that points the "myths" as "True Stories" 2. The thinkings of George Balandier which highlights the dynamic character of social reality that is based on the dialectic of order and disorder / Esta dissertação enfoca o Xamanismo Uhtãpinõponã: princípios dos rituais de pajelanças e do ser pajé Tuyuka, grupo da família lingüística tukano oriental, que habita na região do alto rio Negro, AM, Brasil e no Departamento del Vaupés, Colômbia. O objetivo é descrever os fundamentos históricos-cosmológicos dos rituais de pajelanças e do ser pajé Tuyuka. O grupo faz parte de uma complexa teia de parentesco que constitui os povos indígenas do Uaupés procedentes da Casa da Emergência de Ohko Diawi, situdada no baixo Uaupés, Brasil. A história do alto rio Negro testemunha que a ação missionária nas décadas de 20-80 sobre as comunidades indígenas levou à destruição quase total da vida cultural e espiritual. Os pajés (yaíwa e basera ou kumuã), mestres de cantos e danças tradicionais (bayaroa), mestres dos rituais de Jurupari (mahsãkuła yaíwa) se tornaram inimigos de vários representantes da Igreja Católica, que tentaram extirpá-los, baseando-se na tese de que, as festas tradicionais, os rituais de pajelanças (yaiałe e kumuãłe) e os rituais de jurupari eram ritos diabólicos e que, se os destruíssem, os indígenas tornariam filhos de Deus e não mais do diabo. Contudo, não conseguiram destruir a essência da vida cultural e espiritual do povo Tuyuka, porque apesar dessa história cruel existe um sentido cultural e espiritual vivenciado por pajés Tuyuka. Para evidenciar essa vivência, apresentamos os seguintes temas da pesquisa: os Tuyuka e seu contexto histórico-cosmológico, os princípios dos rituais de pajelanças, o ser pajé Tuyuka e a forma de transmissão dos rituais de pajelanças. A pesquisa levou em conta os seguintes aspectos teóricos metodológicos: 1. o estudo de Mircea Eliade sobre os aspectos míticos que aponta os mitos como Histórias verdadeiras ; 2. as reflexões de George que destacam o caráter dinâmico da realidade social que se fundamenta na dialética da ordem e da desordem

Made available in DSpace on 2016-04-26T14:58:03Z (GMT). No. of bitstreams: 1 Israel Fontes Dutra.pdf: 6549450 bytes, checksum: d5ff595634984395e47c395047750e82 (MD5) Previous issue date: 2010-05-28 / Instituto Felowship / This dissertation focuses on shamanism Uhtãpinõponã: principles of shamanic rituals and rites of the Tuyuka shaman being. The Tuyuka people speaks a language that belongs to the oriental tukano linguistic family, and dwells in the upper rio Negro, AM, Brazil and Departamento de Vaupés, Colombia. The goal is to describe the historical-cosmological foundations of the shamanic rituals and of the shaman Tuyuka being. The group is part of a complex web of kinship that constitutes the indigenous peoples of Uaupés river, which came from the House of Emergency Ohkó Diawi, located at the low Uaupés river, in Brazil. The history of the Upper Rio Negro shows that the missionary action on indigenous communities in the decades from 1920 to 1980 led to the almost total destruction of their cultural and spiritual life. The shamans, (yaíwa and basera or kumuã), masters of traditional songs and dances (bayaroa), masters of the Jurupari rituals (mahsãkuła yaíwa), became enemies of various representatives of the Catholic Church, which tried to eradicate them, based on the thesis that the traditional festivals, the rituals of shamanism (yaiałe and kumuãłe) and the jurupari rites were evil and that if they destroyed them, the Indians would become children of God and no longer the children of devil. However, they failed to destroy the essence of cultural and spiritual life of the Tuyuka people, because in despite of this cruel story, there is a cultural and spiritual sense experienced by the Tuyuka shamans. To show this experience, we present the following research topics: the Tuyuka people and its shamanic rituals historical and cosmological principles; the Tuyuka shaman being and the means of transmission of the shamanic rituals. The research took into account the following theoretical and methodological aspects: 1. the study of Mircea Eliade on the mith issue, that points the "myths" as "True Stories" 2. The thinkings of George Balandier which highlights the dynamic character of social reality that is based on the dialectic of order and disorder / Esta dissertação enfoca o Xamanismo Uhtãpinõponã: princípios dos rituais de pajelanças e do ser pajé Tuyuka, grupo da família lingüística tukano oriental, que habita na região do alto rio Negro, AM, Brasil e no Departamento del Vaupés, Colômbia. O objetivo é descrever os fundamentos históricos-cosmológicos dos rituais de pajelanças e do ser pajé Tuyuka. O grupo faz parte de uma complexa teia de parentesco que constitui os povos indígenas do Uaupés procedentes da Casa da Emergência de Ohko Diawi, situdada no baixo Uaupés, Brasil. A história do alto rio Negro testemunha que a ação missionária nas décadas de 20-80 sobre as comunidades indígenas levou à destruição quase total da vida cultural e espiritual. Os pajés (yaíwa e basera ou kumuã), mestres de cantos e danças tradicionais (bayaroa), mestres dos rituais de Jurupari (mahsãkuła yaíwa) se tornaram inimigos de vários representantes da Igreja Católica, que tentaram extirpá-los, baseando-se na tese de que, as festas tradicionais, os rituais de pajelanças (yaiałe e kumuãłe) e os rituais de jurupari eram ritos diabólicos e que, se os destruíssem, os indígenas tornariam filhos de Deus e não mais do diabo. Contudo, não conseguiram destruir a essência da vida cultural e espiritual do povo Tuyuka, porque apesar dessa história cruel existe um sentido cultural e espiritual vivenciado por pajés Tuyuka. Para evidenciar essa vivência, apresentamos os seguintes temas da pesquisa: os Tuyuka e seu contexto histórico-cosmológico, os princípios dos rituais de pajelanças, o ser pajé Tuyuka e a forma de transmissão dos rituais de pajelanças. A pesquisa levou em conta os seguintes aspectos teóricos metodológicos: 1. o estudo de Mircea Eliade sobre os aspectos míticos que aponta os mitos como Histórias verdadeiras ; 2. as reflexões de George que destacam o caráter dinâmico da realidade social que se fundamenta na dialética da ordem e da desordem

This study is an account of the development of a personal, intuitive epistemology for psychotherapy, and an exploration of some possible implications thereof for a general professional epistemology. Initial analysis of the author's problematic clinical cases revealed that assumptions regarding the nature and process of therapy predisposed the author to a reliance on rational, theoretically founded therapeutic praxis. When rationality was perceived not to be achieving the desired ends in therapy, the author experienced escalating, critical self-consciousness, and worked ever harder at improved rational problem-solving. This constituted a self-reinforcing problem cycle during 'stuck' consultations. The premise that effective action is rational was seen to constitute a weltanschauung of the therapist, and understood to be inconsistent with the postmodern frame of ecosystemic theory. A hermeneutic .action research process was initiated, its concern to accommodate spontaneity as an antidote to rigidifying rationality in the author's clinical and academic praxis. The exploration of spontaneity and intuition was massively influenced by the author's unexpected immersion in shamanic tradition, itself predicated on mythological and intuitive construction of "a" world, rather than denotive description of 'the' world, as is the case in logocentric practice. i'he social disjunction and existential challenge occasioned by immersion in such tradition occasioned angst in the author, and it took years to find an uneasy rapprochement between the different contexts of the author's life. Nonetheless, a change in the author's epistemology and clinical praxis were effected, and the initial problematic clinical situation - partly a consequence of a relational stance entailed in notions of objectivity, a hidden concomitant of logocentrism - has not recurred. A case which evokes the revised epistemology and cognitive-affectiverelational stance of the author is presented. The possibility of an intuitive psychotherapy and its coherence with ecological thought and the tenets of postmodernism and narrative therapy are explored. / Psychology / D. Litt. et Phil. (Psychology)

RESUMÉ V ANGLICKÉM JAZYCE Since the 1980s, a revival of religious traditions, whose continuity was disrupted considerably in the Soviet-era Russia, has been in motion in the entire area of Siberia and Central Asia, among the so called 'rooted nations'. While major religious groups, such as buddhism and islam, could successfully pick up the threads of their religious traditions thanks to their written resources; religions based mainly on oral transmission are facing the opposite situation, shamanism not being an exception. Intense tension coming from the spirituality of their own ethnic traditions, which spontaneously opened after many years of the Communist secularization, in the case of shamanism hit the barriers of how to adequately re- establish the disrupted traditions (lack of living bearers and experts on their own traditions, initiated and uninitiated shamans, and other ceremony specialists, ignorance of symbolism). The whole process of rebirth, revival or revitalisation of shamanism is entirely consistent with the context of current issues concerning constituent societies, which naturally carries the legacy of Soviet culture. Political and economic changes in the post- Soviet space also enabled the bearers of traditions to become open to a wide range of new influences from abroad. Revitalization...

Music and architecture share a sacred bond across cultures. Their histories intertwine and together, they shape ritualistic, religious, and popular practices. As one of the few remaining avenues of universal transcendental experiences that have been so integral to humans, music’s ability to create ecstatic spaces is ever more necessary for the modern human. This thesis uses spatial, artificial intelligence, visual, and aural tools—while engaging in a dialogue between rationalist architecture and shamanic conceptions of spaces—to create an ecstatic space that seeks to reimagine the union of music and architecture. It reveals new ways in which this union can be experienced synonymously and utilizes novel approaches to design such a space.

Situated within deep history, this study explores the auditory and spiritual lives of Paleolithic women. It considers their personal agency in mediating the spiritual power of sound and how doing so contributes to a multifaceted musicality. The theoretical framework involves a wide spectrum of topics, from ways of rethinking the writing of history and reckoning with time, to sound studies and the study of acoustics in ancient sites, to a critical examination through a feminist lens of normative disciplinary scholarship in anthropology and archaeology, religious studies, and musicology. I explore potential audio-visual-lithic relationships for their implications for deepening an understanding of the spiritual aspects of Paleolithic life. Drawing from this interdisciplinary literature, integrative discussions are constructed which when considered collectively, not only provide different types of role models and different criteria pertaining to women's experiences of music-making, but also facilitate the emergence of a more nuanced understanding of Paleolithic spiritual practices. In this women-centric narrative innumerable generations of women's participation as spiritual healers within the shamanic musical paradigm are acknowledged and valued, broadening the parameters of women's cultural heritage and spiritual experience. This expansion can help women today turn away from a compensatory music history perspective that is oriented toward figuring out how to fit into a prescribed androcentric narrative of Western art music and turn towards a more holistic narrative in which women can better consider their lineage(s) on their own terms. It fosters re-conceptualizations of women's musical and spiritual identities by reorienting the timeline, contexts, and definition of women's experiences of music-making as sound-producers and sound-interpreters. This project is intended to provide one possible starting point for new conversations about women in music regardless of one's positionality. From a more inclusive gynocentric vantage point, the toxic self-perpetuating loop which has affected how musicology has thus far been shaped, namely through the undervaluing of women’s musical experiences and the ways that they think and feel about music, is being contested. Ultimately, it is a matter of ownership.